The psychological thriller JOB by playwright Max Wolf Friedlich is the little show that could—and is! After sold-out runs at SoHo Playhouse and the Connelly Theater in NYC’s East Village, JOB is set to begin previews at Broadway’s Hayes Theater on July 15. The two-hander stars Succession alums Peter Friedman and Sydney Lemmon. The plot centers around Lemmon’s character, Jane, who is put on leave from her big tech job after becoming the subject of a viral video. As the play begins, we find Jane with her crisis therapist, Lloyd, who is trying to help her work through her issues. Entertainment journalist Frank DiLella from Spectrum News NY1 recently caught up with Friedman and Lemmon to discuss bringing JOB to Broadway.
The last time we spoke was earlier this year when JOB was having a big moment Off-Broadway. Now it’s moving uptown — to the Hayes Theater on Broadway. Congratulations on the move!
PETER FRIEDMAN: We’re thrilled. I’m interested to see just how far this author and this team can go. It’s fun to be on this ride.
SYDNEY LEMMON: It did shock me, how this all started. I got an email in my inbox in May last year about doing this. This is a small team and was a small project, and now to be called with the news that we’re going to Broadway — it really blew my mind.
This show is thrilling to watch. How would you describe this two-hander?
SL: It’s two people who have very little in common but are trapped in a space together and absolutely need each other to move forward.
The buzz for this show grew and grew and grew Off-Broadway. Was that surprising to you?
PF: I originally thought, “This is a dare.” I loved the writing — and that was enough. But I thought, “I’m not quite sure what this is,” but then it turned into something much better than what I thought it would be.
SL: It was such a joy to work on a new play because you are crafting it and at a certain point in the process. The best idea in the room wins. And you’re working with so many minds to move it forward and you don’t know how it’s going to be received. And with this show, we really didn’t know. Part of the thrill was meeting audiences every night who had a different personality and responded differently to the show.
Sydney, you’ve gone on record saying Jane has changed a lot since you’ve lived with her. What do you mean by that?
SL: The script contains so much. The script is really like jazz, and it can be played in so many ways. I think when you’re with a piece for that long, certain things resonate more so than others. It’s a privilege to keep possibilities open and be supported by Peter and the whole production. It was OK for this person to evolve, but still tell the story that we’ve built together.
Peter, what does Lloyd represent to you?
PF: He’s certainly me trying to figure out how to live in this technical age. He’s flummoxed by all the innovation that’s out there and what has happened to this young woman.
Watching both of you on stage is like watching a tennis match. The dialogue is so specific, and the two of you are masters at your craft.
PF: Starting this, I had just come off Succession. [As an actor], this is what you’ve been waiting for and what you hope for. During Succession, I didn’t have this kind of intense experience. It was a fabulous experience, but not like this experience.
Speaking of Succession, you both have worked on that show. It became a TV phenomenon. Were you surprised at its success?
PF: When I read the pilot, I thought these are terrible people. But when it was finally broadcast a year or so after I had read it, it didn’t seem as bad because maybe I had gotten used to the misbehavior. Like everyone said, there’s no one to root for. But you just fall in love with poor little Ken, who is so sadly misguided.
Speaking of Ken, Jeremy Strong just wrapped a successful run in the revival of An Enemy of the People. He won the Tony for his performance. Did you both see his show?
SL: His performance was incredible. So moving. I was so happy that he won.
PF: He kept that thread that was serious and firm throughout the whole show. And it paid off.
Sydney, you come from an entertainment family. Jack Lemmon was your grandfather. Chris Lemmon is your dad. Growing up, were you encouraged to pursue a career in entertainment, or was it the complete opposite?
SL: I was told “Do anything else but …” But I was lucky enough to go to a great magnet arts high school where my love of theater was fostered there. My parents were so supportive, ultimately. I recently walked by our Broadway theatre, the Hayes, to take it all in, and I forgot that it was next to Sardi’s, where my grandfather’s portrait is in there. And my grandfather loved Sardi’s and Joe Petrsoric, the iconic bartender [who just retired] — my grandfather was a favorite customer of his. He would go and play the piano all the time. It was a sweet moment where I got to feel Grandpa Jack’s portrait is right there, right next to the Hayes. It made New York feel kind of small for a second.
This play has been on quite the ride. You both are known in the TV/film space. Do you see this being turned into a film or a series?
PF: I’m sure agents have been working diligently to monetize this. [Laughs.]